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[ā¦]court case she once heard about, probably from her stepfather, District Court Judge Thomas Crease: [T]hey had an old night watchman who couldnāt write[,] signed his pension checks with his thumbprint till somebody noticed he must be over a hundred and ten years old with the checks still coming through and when they investigated they found his thumb in a bottle of formaldehyde up on a kitchen shelf with the green tomato preservesā¦ (441) Christina is not a lawyer, but, like many of the characters in the novel, she frequently meditates on the strange scenarios legal reasoning creates. In the [ā¦]
[ā¦]how translators should actually handle his novels, the contrast between how his protagonists Otto and Wyatt deal with originality, authorship, and authenticity in The Recognitions gets to the heart of more recent debates about translation as theory, practice, and profession. Translators and translation theorists, therefore, would benefit from reading it. Gaddis and His Translators The Recognitions remains one of Gaddisās least widely translated novels: complete versions exist only in French, Italian, German, and Spanish, and these were mainly published during the 2000s, meaning that Gaddis himself did not experience them. Nonetheless, among the partial or abandoned attempts to translate it [ā¦]
[ā¦]media to encompass the broader environment-infrastructure-energy nexus, and our version of this is to test out methods of narrativization that play with questions of spatial and temporal scale. The expansion of digital poetics beyond digitality has come to play a key role in many recent works, with the idea that computational cultures are dynamically interrelated to their landscapes and planetary affordances. These imaginaries of data and digitality focus on the question of how to sense sensing (to echo Chris Salterās words in his recent take on the history of sensors) and offer stories that look at the broader spectrum of [ā¦]
[ā¦]hopes that the variety of genres represented in his work, from blog entries through book reviews to formal academic essays will help ādemonstrate the virtues of each mode.ā He also explains that he sometimes cites the same text, most obviously Poundās āHugh Selwyn Mauberley,ā in different essays to make a similar point, attributing these āinfelicitiesā to his āstruggle to be original.ā (Stefans ix) Such simple statements are belied by the size, scope and somewhat obsessive nature of the book. Anticipating a counter argument, or referring to elaborations the author would make if he had the space or the time is [ā¦]
[ā¦]length works, Hall attempts to shift the debate on open access. For Hall the current commitment to open access, often focused on making the vast stores of journal articles available freely on demand, makes up only a small part of the move to open access. He wants everything to go open access, especially books, and especially in the humanities where the most valued publications are still in codex form. At times Digitize This can be a bit heavy on the theory in mounting its case for open access. Not that I am complaining ā in fact, anything but, as Hall [ā¦]
[ā¦]literary critics invoke economics, they often think in terms of circulation and marketing. For example, recent scholarship in modernist studies has focused on how writers such as T.S. Eliot and Ernest Hemingway made use of marketing strategies and established themselves as literary celebrities. Similarly, work on postwar U.S. literature has brought attention to the roles of institutions such as creative writing programs and book awards in the literary marketplace. Circulation and reception studies invoke the market not only in terms of the dissemination of literary texts but also as a kind of democratic, cosmopolitan public, one that counters older conceptions [ā¦]
[ā¦]from earlier works of electronic literature that exploited their digitality: novels that āpromote[d] nonlinear, or more accurately multilinear, reading paths,ā poems that exploited the multimedia possibilities of Flash animation, and other works that depended on a close association with āe-commerce and popular technocultureā (6, 9). The authors Pressman considers resist these associations and ārebe[l] against this cultural situation and the affective mode exemplary of itāinteractivityāby returning to an older aesthetic of difficulty and the avant-garde stance it invokesā (9). Pressman centers each chapter around an idea that seems new, or newly possible, in the digital era while simultaneously demonstrating digital [ā¦]
[ā¦]into a digitally empowered society and knowledge economyā. The vision areas also include ā[a]vailability of high speed internetā and āuniversal digital literacyā(āVision of Digital Indiaā). If we look at the number of Internet users in India, which is increasing tremendously, Indian digital humanists can harness this facility of outreach through critical and creative works (see Fig.2). The best example we can think of for interlinking the electronic literature and digital humanities for the Indian context is the Story writing machine in the novel The Vendor of Sweets by R.K. Narayan (Narayan 74). The novel was published in the mid-20th century. [ā¦]
[ā¦]the history of Italian e-lit, namely my Per una storia della letteratura elettronica italiana [For a history of Italian electronic literature], published in November by Mimesis, and Emanuela Pattiās Opera aperta. Italian Electronic Literature from the 1960s to the Present, published in April by Peter Lang in the Italian Modernities series vol. 39 edited by Pierpaolo Antonello and Robert Gordon of the University of Cambridge. Both essays identify the works by Nanni Balestriniāthe electronic poem Tape Mark I (1961) and the combinatorial novel Tristano (1966)āas the starting point of Italian e-lit. Both end with Fabrizio Venerandiās Poesie elettroniche, a collection [ā¦]
[ā¦]twigs, four rolls of handmade, written-on paper ā- are they reports, instructions? textures to touch? maybe measured preparations, the viewer less a customs inspector than a traveler unpacking an appreciation of the hold-anything container as well. This canāt be the bundle ā- the one you came home with? Meanwhile does Meganās acrylic and graphite āa landscape containedā pack ā- I mean paint ā similar abstract divisions into (or onto) its canvas while (is it) a solitary coastal line escapes her strict maplike oblongs? Intrigued by freedoms that take me back and forth from one room to another of the compact [ā¦]